TEE TTrILTGET ZONE

Season Two

"The Eye of the Beholder"

Teleplay by

ROD SERI.TNG

Air Date: Novenber 11, 1960

 qoJ- i- inrr
1. Standard opening with human a \ / a n h : n r r i vJ v vr r sr r :r
nrr
4 r r t:, i nrn
sun. PAN DOWNTO OPENING SCENE OF PI,AY.

2. TNT. EOSPITAL ROOD{NIGET

( Production note: Thro u g h o u t t . h e p la y u n t il- o t h e rwis e

i ndicated, al-1 charac t e rs wit h t h e e x c e p t io n o f , , la n e t a r e
pla yed either in the s h a d o ws o r t h e c a me ra is o n t h e ir back,
bu t never are actually s e e n f a c e f irs t . ) T h e CA ME RA S T A R T SA
Si,Ow-56fu.y in over toward a bed which, besides a bedstand,
i s the only furniture in a n o t h e rwis e b a re a n d a n t is e p t ic -
looking room. CAI,IERA STOPS on an ANTGLESHOT LOOKING DOWNat
Ja net Tyler, whose fac e is e n t ire ly s wa t h e d in a b a n d a g ed
m a sk, with only a little s lit le f t o p e n f o r t h e mo u t h . S h e
r e mains motionless. Even her h a n d s a re I imp , u n p ro t e s t in g
e xtensions of herself, a s if t h e y t o o we re re s ig n e d t o a
l i fe of silent darkne s s . T h e re ' s t h e n o is e o f a d o o r s wi n g i n g
o p en and then the ver y s lig h t sound of g la s s me d ic in e b ot t l e s
* rf f ' r . inn
!d .L L J- J- r r 9 \Jl,t
r
d
fL!d.v.
rr* rFr.n
J. lrg
rr J-c\ 1r
- hl \.r
^ -4uv
^ ^ ^L,r €-^^
!aus
*'.
Lu
rns toward the so u n d :

CUT T O :

3. Med. long shot acloss the room A nurse has just entered
a n d is placing the tra y d o wn n e a r t h e d o o r. T h e p o s it io n of
the bedlight throws t h e f a r e n d o f t h e ro o m in s h a d o ws r s o
that all we can see of t h e n u rs e is t h a t o f a n g u la r, t a ll-
si l houette, her face in v is ib le . He r v o ic e , wh e n s h e s p eaks,
ha s a brittle and pro f e s s io n a l q u a lit y , u n e mo t io n a l a n d with
a suq'qestion of bored o m.

dTA}IET
Nurse?

N('RSE
gPr
! v qnr
Y r rr ahl- u
\zn1l
vu
I'
y o u r s le e p in g me d ic in e ,
honey.

JA!{EE
T^ .: | *.i : I ro.arl rr?
J- D rL r r r vr r^l^r
L

NI'RSE
It's nine-thirt y .

4. Dif,ferent angJ.e ilanet As her head turns to look up toward

the ceiling.

iIE}TET
What about t h e Ca v ?

NURSE
W hat about it ?

TANET
W as it a be a u t if u l d a y ? wa s t h e sun
out? W as it wa rm?
5. Moving shot ttre nurse As seen from behind her as she walks
over to the bed, adm in is t e rs t o t h e b a n d a g e d wo ma n . T h e c a m e r a
r emains on her back.

NT'RSE
K inda warm .

JANET
Clouds? Were t h e re c l-o u d s in the
q lr r r ?

We can see the nurse s h ru q . He r v o ic e b e c o me s e v e n d u ll-e r .

NT'RSE
f suppose th e re we re . I n e v e r wa s
much for st a rin g u p a t t h e s k y a ll
the time.

N ow the nurse screws b a c k t h e t o p o n a me d ic j-n e b o t t l_ e r puts

i t in her pocket, shak e s d o wn a t h e rmo me t e r.

dIA!IET
f used to l o o k u p a t c lo u d s a l-o t .
If you stare a t t h e m lo n g e n o u g h
they becom e " L h in g s . " Do y o u k n o w
what I mean ? S h ip s , p e o p le , p a s t o ra l
scenes. . . an y t h in g y o u wa n t , re a iiy ,
if you stare a t t h e m lo n g e n o u g h .

NT'RSE
Time to take y o u r t e mp e ra t u re n o w.

Sh e moves the thermom e t e r t o wa rd Janet's mo u t h .

.IA}IET
Just one ot h e r t h in q . . .?

NI'RSE
W ell?

.'E}IET
W hen...when will thev take the
bandaqes off ?

6. Close shot ttremoneter It stops, poised in mid-air, then

tr avels in an arc bac k t o wa rd t h e n u rs e ' s s id e .

7. DIFT'ERE}IT tONG A}IGI.E

As seen from above. T h e n u rs e h a s t u rn e d a wa y , o b v io u s ly

r e acting to the questio n . J a n e t ' s h e a d f o llo ws h e r.

.'AI{ET (CONT'D)
How long?

NURSE
UntiI...unti1 t h e y d e c id e wh e t h e r
chey can fix up your face or not.
 JAIIET(very softly)
Oh . i g u e ss it' s. . . f guess it' s pr etty
b a d , i sn 't it?
8. Different angre shooting over the nurse's shoulder toward
dlanet

NT'RSE
I've seen wo rs e .

iIA}IET
B ut it's pre t t y b a d , is n ' t it ? I
know it's p re t t y b a d . E v e r s in c e I
can rememb e r. . . e v e r s in c e f wa s a
littIe girl.. . p e o p le h a v e t u rn e d
away from me . T h e v e ry f irs t t h in g I
can rememb e r is a lit t le c h ild
screaming wh e n s h e lo o k e d a t me .

9. Extrenely tight profile ehot of her bandaged faee As she

o n ce again turns awa y . He r v o ic e is s o f t , b u t t h e re is a
sense of desperation, o f mis e ry , o f a n g u is h t h a t c re e p s i n .

J A T { E T (CO NT ' D)
f never wan t e d t o b e b e a u t if u l. f
never wante d t o lo o k lik e a p a in t in g .
f never even . wa n t e d t o b e l_ o v e d .
(a paus e l
I just want e d . . . I ju s t wa n t e d p e o p le
not to screa m wh e n t h e v lo o k e d a t

(now th e b a n d a g e d
face tu rn s o n c e a g a in
toward t h e n u rs e )
When, nurse ? Wh e n will they take the
bandaqes of f t h is t ime ?

10. Different angle the back of ttre nurse As she once again
le ans over, puts the t h e rmo me t e r in J a n e t ' s mo u t h , t h e n t u r n s ,
bu t so close to the c a me ra t h a t we a re s h o o t in g h e r b o d y
be low the face. S he pa s s e s t h e c a me ra a n d mo v e s a g a in t o t h e
o p posite side of the ro o m a n d in t o t h e s h a d o ws . T h e c a mer a
r emains on this shot.

NI'RSE
Maybe tomorrow. Maybe the next day.
Y ou've been wa it in g s o lo n g n o w. . . j-t
really does n ' t ma k e t o o mu c h
difference wh e t h e r it ' s t wo d a v s o r
weeks now, d o e s it ?

11. Reverse angle looking back over to ttre bed

Ja net's head moves fro m s id e t o s id e , s h a k in g h e r h e a c i " no . "

The nurse looks down a t h e r wa t c h t h e n o n c e a g a in mo v e s a w a y
fr om the camera over t o t h e b e d , t a k e s t h e t h e rmo me t e r ou t ,
shakes it, then in id e n t ic a l f a s h io n to b e f o re , passes the
camera and goes out o f t h e ro o m.

CU T T O :

L2 . NTT. EOSPITAI. CORRIDOR NIGBT

This is a 1ong, bare, a lmo s t c a v e rn o u s r t u n n e l-lik e h a 1 1w a y .

The lights are dim an d , o n c e a g a in , t h e p e o p le wh o p a s s u n d e r
them - a doctor, ano t h e r n u rs e , a p a t ie n t - a re in s h a d ow s
an d we cannot see their f a c e s . A f e w d o o rs d o wn f ro m J a n e t ' s
r o om is a kind of rece p t io n d e s k . A n u rs e s it s t h e re , h e r
b a ck to camera.

13. Long Ehot down the conidor looking torard reception

d e E k A s Janet's nurse c o me s f ro m b e h in d t h e c a me ra a n d s t a r t s
wa lking toward the de s k .

1II. MED. I.ONG SgOT I}TTERCOM

On the reception desk as the CAMERAMOVESTOWARDfT, staying

on the back of Janet's n u rs e .

15 . Close shot nurse' s handAs s h e f lic k s a button on the

in tercom.

NT'RSE
Dr. B ernardi. E v e n in g re p o rt o n
P atient 30 7 . Re s t in g c o mf o rt a b ly . No
temperature c h a n g e .

DOCTOR'S VOrCE
(over in t e rc o m)
Thank you, n u rs e . f ' 1 1 b e d o wn la t e r.

The nurse flicks off the button.

NT'RSE T}TO
E ver see he r face? 307?

NURSE
Indeed I ha v e . I f j-t we re mj-n e , I ' d
bury myself in a g ra v e s o me p la c e .
P oor thing. S o me p e o p le wa n t t o liv e
no matter wh a t I
(a paus e )
Cn t r n'i rr: ror i o ?

A pack of cigarettes p a s s e s in f ro n t o f t h e c a me ra . J a n et ' s

nu rse's hand moves to wa rd t h e p a c k a n d t a k e s o u t a c ig a re t t e ,
th en moves out of the f ra me . T h e re ' s t h e s o u n d o f a ma t c h
iUgaltv
'r c ino sf
D LI rrrr:k
UVA r-
\J. \,. t
+l"
L-IMI
a n C,- \: lo u d o f s mo k e e x h a le d in t o t h e
air. The CAMERAMOVESAROUNDSO thAt it iS SHOOTINGTHROUGH
THE S MOK Eacross the d e s k , d o wn t o wa rd t h e c o rrid o r and
Janet.'s room. A t this mo me n t we F RE E Z E F RA ME . T wo n u rs e s
wa lking down the corrid o r a wa y f ro m t h e c a me ra s t o p a n d b e c o m e
im mobile, and over th is t a b le a u we h e a r S e rlin g ' s v o ic e .
 SERLINGI S VOICE
S uspendeci i n t ime a n d s p a c e f o r a
moment.

Ou t of Janet Tyler's ro o m n o w wa lk s S e rlin g . B e h in d h im w e

scill see the stationarv f iq u re s of t h e n u rs e s .

SERLING
Y ou have be e n in t ro d u c e d t o Mis s
Janet Ty1er , wh o liv e s in a v e ry
private world o f d a rk n e s s ; a u n iv e rs e
whose dimens io n s a re t h e s iz e ,
thickness, le n g t h o f a s wa t h e o f
bandages tha t c o v e r h e r f a c e . f n a
moment we'1I g o b a c k in t o t h is ro o m,
and also in a mo me n t we ' 1 1 lo o k u n d e r
the bandages .
(a paus e )
K eeping in min d , o f c o u rs e , t h a t
we're not to b e s u rp ris e d b y wh a l we
see/ becaus e t h is is n ' t ju s t a
hospital. An d t h is P a t ie n t 3 0 7 is
not just a wo ma n . T h is h a p p e n s t o b e
The Twilight Z o n e . . . a n d Mis s J a n e t
Ty1er, P atie n t n u mb e r 3 0 7 . . . wit h
you, is abou t t o e n t e r it !

FADE TO BLACK--OPENING BILLBOARD--FIRST CO}O{ERCIA],_-FADE

ON:

16 . rNr. EOSPITAL ROOM INIGST] E:KTREMELY TrGET PROFILE SEOT

BAI{DAGED FACE OF .'A}{ET IYIER

Be yond, at the far end o f t h e ro o m, a re t h e s h a d o wy f ig u re s

of the doctor and the n u rs e . We h e a r t h e m in d is t in c t ly a nd
m u ffl-ed. Occasionally wo rd s lik e " t e mp e ra t u re , " " p re s s u re , "
"thyroidr " "injection" c a n b e h e a rd a b o v e t h e g e n e ra l
i nd istinct rumble of t h e ir v o ic e s . F in a lly t.he doctor takes
a step toward the came ra a n d t h e b e d , h is f a c e s t ill in th e
shadows.

DOCTOR
(o ve r his shoulder )
C o meb a ck about eleven, nur se. Give
h e r th e u sual sedative then.
NURSE
A Il right, d o c t o r.

The CAI.4ERAARCS AROUNDso that it is shooting behind the

do ctor as he approache s t h e b e d . He re a c h e s it , p ic k s u p
Ja net's arm, briefly c h e c k s h e r p u ls e wh ile h e lo o k s d o w n a t
he r .

DOCTOR
W arm this ev e n ln g , Mi-s s T y le r.
 iTAl{ET
I thought it wa s . f c o u L d n ' t b e s u re ,
though.

DOCTOR
(running a h a n d t h ro u g h h is c o ll-a r)
Very warm. You can take my word for
it. We'11 h a v e t h o s e b a n d a g e s o f f
you very sho rt ly . I e x p e c t y o u ' re
uncomfortable .

.IA}IET
f'm used to b a n d a g e s o n my f a c e .

DOCTOR
I've no doub t . T h is is v o u r. . . n in t h
visit here? f s it t h e n in t h ?

iTANET
Tho al o r zo n f h
(a paus e a s s h e t u rn s
her ban d a g e d f a c e
toward h im)
S ometimes f t h in k f ' v e liv e d my wh o le
life inside a d a rk c a v e . T h e wa lls
are gauze. A n d t h e win d t h a t b lo ws
in from the mo u t h o f t h e c a v e a lwa y s
smells of e t h e r a n d d is in f e c t a n t .
(a pause )
There's a k in d o f a c o mf o rt t h o u g h ,
rsvvsv!,
ln n l- n r l- n 'l i tri na
wv rrV J-O$ fi - n fhi
tnl ^-S C aV e. It
t
S
so wonderfully p riv a t e .
(she turn s h e r h e a d
^ ..^ --\l
dwd,v
No one cln e v e r s e e me .
(another p a u s e )
It's hopeles s , is n ' t it , d o c t o r?
I'11 never l-o o k a n y d if f e re n t .

DOCTOR
(putting h e r wris t
down)
That's hard t o s a y . Up t o n o w y o u
haven't res p o n d e d t o t h e me d ic a t io n
or to the s h o t s o r a n y o f t h e p ro v e n
techniques. F ra n k ly , y o u ' v e s t u mp e d
us, Miss Ty le r. No t h in g we ' v e d o n e
so far has ma d e a n y d if f e re n c e at
al-I. B ut we ' re h o p e f u l o f wh a t t h is
Iast treatmen t ma y h a v e a c c o mp lis h e d .
There's no t e 1 1 in g , o f c o u rs e - n o t
tilI we get t h e b a n d a g e s o f f .
Unfortunately y o u r c a s e is o n e t h a t
can't be ha n d le d wit h p la s t ic s u rg e ry .
B one structure , f le s h t y p e . . . ma n y
factors prohib it t h is k in d o f
approach.
 He turns away. The C A ME RA A RCSA RO UNDwit h h im s o t h a t he's
ne ver full on camera.

DO CT O R(CO NT ' D)
four el_even t h v is it .

A pause. He moves ove r to the t a b le , taps o n it t e n t a c iv e l y .

L7. Close shot his fingers As they tap.

18. Angle shot looking across dlanet toward the slouched figrure
of the doctor There's a s ile n c e a n d f in a lly J a n e t b re a k s i i .

dIAI{ET
No nore after this, ale there? No
roore tries.

DOCTOR
Eleven is the mandatorv number of
- - -7il-.il, ^.,
o:zfior i mar ' r 1- a

\.4v vr.r qY u /

No more are p e rmit t e d after e le v e n .

fiAI{ET
Now what?

D@TOR
W eII you're k in d o f ju mp in g t h e 9 u o ,
Miss Ty1er. Y o u ma y v e ry we t l h a v e
responded t o t h e s e la s t in je c t io n s .
Therers no wa y o f t e llin g t ill we
get those b a n d a g e s o f f .

TIANEf
B ut if I ha v e n f t re s p o n d e d - t h e n
what?

DOCTOR
There are alt e rn a t iv e s .

JA}IEI
Like?

The doctor starts to t u rn . wE c u r A B RUP T L YB E F O REHE G E T S T o

t r A T -tr T T J tr T -AMtrP A T A .

DOCTOR
Don't you k n o w?

iTA}IET
(very s o f t ly )
I know.

DOCTOR
(approach in g t h e b e d )
fou realize, o f c o u rs e , Mis s T y le r,
why these ru le s a re in e f f e c t ?
(MO RE )
 DOCTOR (COIIT'D)
E ach of us is a f f o rd e d a s mu c h
opportunity a s p o s s ib le t o f it in
with sociecy . I n y o u r c a s e , t h in k o f
the time an d mo n e y a n d e f f o rt expended
to make vou lo o k -

H e stops abruptry. His h e a d g o e s d o wn a s if s e a rc h in g f or a

wo rd.

iIAI{ET
To make me lo o k lik e wh a t ?

D@TOR
Normal. The way you'd like to look.

20. Different angle Janet As she rises in bed, supporting

h e rself on her elbows .

dTA}IET
Doctor? May I wa lk o u t d o o rs ? Ma y I
sit out on t h e l-a wn ? J u s t f o r a lit t le
whi-le. .Tus t t o s me ll t h e f lo we rs .
Just to...jus t t o f e e l t h e a ir. Just
for...iust f o r. . -
1 sh o l' r nl f < rrnri nhf i n
bed now. He r v o ic e
takes o n a d if f e re n t
tone, a s t ra in e d ,
tight, c lo s e -t o -
breaking h a rs h n e s s )
To make belie v e , d o c t o r! T o ma k e
believe that f a m n o rma l. I f I s it
outside in t h e d a rk n e s s , t h e n I k n o w
the whole wo rld is d a rk . I ' m mo re a
part of it t h a t wa y . No t ju s t o n e
grotesque, u 9 1 y , d e f o rme d wo ma n wit h
a bandage aro u n d h e r f a c e . . . wit h a
special dark n e s s t h a t b e lo n g s t o
her.

The CAMERAMovES rN for a VERY cI.osE sHoT of her bandaqed

face and now her voice is h ig h , s h rill, and unsteady.

.'ANET (CONTI D)
I want to be l_ o n q l I wa n t t o b e li_ k e
otEEFpeopGl-Eease help me, doctor.
(now he r v o ic e c a t c h e s
in a s o b )
P lease help me .

The CAI.{ERAMOVESAROTINDso that it is SHOOTING TOWARDTHE

D ocroR who stands in t h e s h a d o ws . He is s i-re n t f o r a mo m e n t
an d then his voice is s o f t .
 DOCTOR
Y ou're not a lo n e , Mis s T y le r. you
realize tha t , d o n ' t y o u ? Y o u ' re
hardly aion e . T h e re a re ma n y o t h e rs
who share y o u r mis f o rt u n e . P e o p le
who look mu c h a s y o u d o . O n e o f t h e
al-ternatives. . . s h o u ld t h is la s t
treatment p ro v e u n s u c c e s s f u l. . . we I 1 ,
this is simp ly t o a llo w y o u t o mo v e
into a spec ia l a re a in wh ic h p e o p le
of your own k in d h a v e b e e n
conqreqated.

JE}IET
P eop1e of my o wn k in d !
(a pause )
Congregated, d o c t o r? Y o u d o n ' t me a n
congregated, y o u me a n s e g re g a t e d .
Y ou mean imp ris o n e d . Y o u ' re t a lk in g
about a qhet t o n o w.
(and-the n p la in t iv e ,
anguish e d , a n d mo re
A s e r: rv - s h e s h rie k S
vL i I

this o u t )
A ghetto de s ig n e d f o r f re a k s !

DOCEOR
( shouting )
Miss Tyler ! T h e S t a t e is n o E .
unsympathetic . Y o u r p re s e n c e h e re in
this hospita l attests t o t h is . ft's
doing all it c a n f o r y o u . B u t y o u ' re
not being r a t io n a l, Mis s T y 1 e r. Y o u
can't expec t t o liv e a n y k in d o f
life amonqs t . . .
(again h e g ro p e s , b u t
picks it u p q u ic k ly )
A mongst norma l p e o p le .

CUT T O :

2t. Close shot ,f,anet The bandages twitch as if, underneath,

h e r face were contortinq .

iIA}IET
I could try. f c o u ld we a r a ma s k o r
this bandage . I wo u ld n ' t bother
anyone. I'd ju s t g o my o wn wa y . I ' d
take a job. A n y jo b .
(her vo ic e b re a k s
again )
Who are you p e o p le a n y wa y ? Wh a t is
th i s Sta te ?- [aJ[g p:l roc
rl n :l I f he
r,-,r n"- t =-5.i- i n"
" "-Etrd-i T h" e "i;;;
traditions? p e o p L e wh o a re
different h a v e t o s t a y a wa y f ro m
other people wh o a re n o rma l. T h e
S tate isn't G o d , d o c t o r.
 !v.

DOCTOR
(firmly and o b v io u s ly c o n c e rn e d )
Miss Tyler, p le a s e !

.JN{ET
The
.--_'- S tate i s not God. It hasn't the
right to pe n a liz e p e o p le f o r a n
accident of b irt h . It hasn't the
right to ma k e u g lin e s s a c rime -

DocTOR
( shout in g )
Miss Tyler, I mu s t a s k y o u t o stop
this kind of t a lk imme d ia t e ly l No w,
Miss Tyler, n o wl

The CAMERAMOVES BACK over to a SHOT OF JANET, who gets out

of bed and stands there f o r a mo me n t mo t io n le s s wit h h e r
h e ad down' then very s lo wly , a h a n d o u t in f ro n t o f h e r, s h e
m oves across the room o v e r t o a win d o w. S h e t o u c h e s it , then
p u ts her bandaged chee k a g a in s t it .

CUT T O :

22. Reverse angle looking at her through the glass One hand
m oves down the pane u n t i] it re a c h e s t h e o p e n s e c t io n a t t h e
bo ttom. S he moves her h a n d b a c k a n d f o rt h .

i'A}IET
( softly)
I feel the n ig h t o u t t h e re . I feel
the air. I c a n s me l-I t h e f lo we rs .
( she turn s s lo wly t o
face t h e d o c t o r.
Both hands go up t.o
touch t h e b a n d a g e ,
in a ve ry s ma l1 ,
still v o ic e )
P lease take t h is o f f me . P ] e a s e t a k e
this off me .
(then s c re a min g )
Take this o f f me !

Sh e starts to clutch a n d s c ra b b le at the banddg€, s c re a mi n g

as she does so.

ABRUPT CUT TO:

23. IllT. CORRIDOR ROO['{ TIIDICATOR ON TIALIJ O\ZER RECEPTTON DESK

A l ight "307" flashes o v e r a n d o v e r a g a in . I n t h e b . g . w e

he ar cJanet's screaming v o ic e p le a d in g f o r t h e re mo v a l- o f t h e
bandage. The nurse passes the camera hurriedly. CAI.{ERAPA}IS
AROUNDSO THAT IT IS LOOKING at her as she races down the
cor ridor toward qTane t ' s ro o m.

ABRUPT CUT TO:

24 . TNT. EOSPITAL ROoD{ AS SEEN TEROUGE TEE WTITD@TFROM
OUTSIDE

Th e doctor is holding a f ig h t in g , s q u irmin g J a n e t a s t h e

n ,,r ea )'r:rna< in, takes h e r O t h e f a f m a n d t h e t WO O f t h e m
4..t

m o ve her back over to t h e b e d . T h e s c e n e is p la y e d in

p a n tomi-me and finally J a n e t q u ie t s d o wn . We t h e n s e e t h e
nu r se walk back over t o t h e d o o r a n d e x it .

CUT T O :

25 . I}.IT. CORRTDORMED. SBOT RECEPTTON NT'RSE

Re ading a magazine that c o v e rs u p h e r f a c e . J a n e t ' s n u rs e

w alks in front of cam e ra s o t h a t we s e e mo s t o f h e r b a c k a n d
n: r f of f he n rl rs A s ' i f f i nrr hehi nci fg r r he
v meoazi ne.
rrrqY

.tef.IET I S NURSE
The doctor's d e c id e d t o re mo v e t h e
bandages in 3 0 7 . He wa n t s t o h a v e
the anesthetis t stand bv.

26. Different angle ttre reception nurse She turns just at

the momen'uof the CA M E RACUT s o t h a t we a c t u a lly don't see
he r face.

NT'RSE T9{O
Of course, it ' s n o t f o r me t o s d y ,
but I think t h e y s p e n d a n a wf u l lo t
of time and t ro u b le o n s o me o f t h e s e
face cases t h e s e t h ro wb a c k s : Wh y
not ship the m o u t in t h e b e g in n in g ?

She reaches for her m a g a z in e a g a in a n d s t a rt s to t u rn in her

nl.'ri .+ r.rlri nlr nai n.{-
Ul,Ld. II - t OV wlIIUll lJ\JIII L

THE CAI{ERA AGAIN CUTS TO:

27. SEOT OF EER BACK

T , ook i n o over fl g r S h O U lder.

,teNET' S NURSE
Is that what y o u ' d wa n t ? I f it we re
you?

Th e second nurse fl-icks the in t e rc o m imp a t ie n t ly .

N('RSE THO
A nesthesia, p le a s e . Wa n t e d f o r 307.
Y es. S he ma v q e t v io le n t .

FADE TO BLACK--END ACT ONE--ACT TWO-_FADE ON:

28 . I!IT. CORRIDOR RECBPTION DESK TNIGET]

A nurse and an orderly lo u n g e a ro u n d , b a c k s t o c a me ra . T h e

o r d erly looks at his wa t c h , t h e n a c ro s s a t a la rg e t e ie v is i o n
 L-.

set perched on the far end of the counter wh ic h f ro n t s t he

r e ception desk.

ORDERLY
Leader's sp e a k : -n g t o n ig h t . Goes on
in iust a fe w min u t e s .

H e rises, flicks on t h e set, then lig h t s a c ig a re t t e .

29. Top hat shot ttre match As it goes into the ashtray.
D i r ectly across on a d ire c t lin e is t h e f ro n t of the
te levision set which s h o ws a n e x t re me ly lo n g s h o t o f a de s k
with an official seal b e h in d it . A ma n s it s b e h in d it , t oo
fa r off to distinguish c ie a riy b e y o n d a g e n e ra l o u t lin e . An
off-camera voice annou n c e s p o rt e n t o u s lv .

A}INOI'NCER
A nd now, Iad ie s a n d g e n t le me n , our
Leader.

There is cheering and o f f s t a g e a p p la u s e , a n d we n o w h e a r t h e

ste ntorian tones of th e q e n t le ma n ru s t a n n o u n c e d .

I.EJADER'S VOICE
Good evening , . l-a d ie s a n d g e n t le me n .
Tonight f s h a ll t a lk t o y o u a b o u t
glorious con f o rmit y . . . a b o u t t h e
delight and t h e u lt ima c e p ie a s u re o f
our unified s o c ie t y . Y o u re c a ll, of
course, that d ire c t io n l-e s s ,
unproductive, o v e r- s e n t ime n t a li z e d
era of man' s h is t o ry wh e n it wa s
assumed that d is s e n t wa s s o me k in d
of natural a n d h e a lt h y a d ju n c t t o
society. We a ls o re c a ll t h a t d u rin g
this period o f t ime t h e re wa s a
strange ove r-s e n t ime n t a liz e d concept
that it matt e re d n o t t h a t p e o p le
were differen t , t h a t id e a s we re a t
variance wi t h o n e a n o t h e r, that a
world could e x is t in s o me k in d o f
crazy, patchwo rk k in d o f ma k e u p ,
with foreign e le me n t s g lu e d t o g e t h e r
in a crazy q u ilt . We re a liz e , of
courseT oow T t h a t , . .

His voice continues underneath as the CAMERAMOVESAWAY from

h iM and S HOOTSDOWNT HE HA I L . T h e L E A DE R' S V O I CE c o n lin u e S
thr ough the bandage-re mo v a l s c e n e .

30. Different angle the door of dlanet's rooro

DI S S O L V E T O :

31. IlW. EOSPTTAI' ROO['{NIGEI

Janet now sits in a ch a ir in t h e c e n t e r o f t h e ro o m. A s i n g l e

or r crhoacl I i oht has be e n t u rn e d o n S O t h a t S h e a lO n e is
i l l u mi n a te d a l mo st a s if by a spotlight. Ther e' s a low m ur m ur
o f vo i ce s u n d e rn e a th as other shadowy figur es in the r oom
w a l k b a ck a n d fo rth i n fr ont of her , their shadows playing
b r i e fl y o n h e r b a n d a ged face as they m ove. Behinci this sc ene,
i n t ermi tte n tl y, w e can hear the voice of the Leader on th e
t e l e vi si o n se l o u tsi d e. Then the voices of the doctor and
t h e p e o p l e i n th e ro om die off. The doctor ' s body steps i n
frOnt Of the camera. CAMERAPANSDOWNto a SHOTOF HIS RIGHT
H AN D . It h o l d s a sci ss or s.

DOCTOR
N o w f h a ve to ask you once again,
Mi ss T y1 e r. I must insist that you
p ro mi se to r em ain r ational. No
ta n tru ms. No temper ament. And no
vi o L e n ce , You under stand?

J a n e t n o d s.

DOCTOR ( CONT'D)
Now f'11 telI y o u p re c is e ly wh a t I ' m
going to do. I ' m g o in g t o c u t t h e
bandage at a p o in t o n t h e le f t s id e
of your head . I ' 1 1 s t a rt t o u n win d
the bandage v e ry g ra d u a lly . The
process has t o b e s lo w s o t h a t y o u
can become ac c u s t o me d t o t h e lig h t .
A s you know, t h e in je c t io n s ma y h a v e
had an effect o n y o u r v is io n . No w a s
I unwrap, I wa n t y o u t o k e e p y o u r
eyes open an d I wa n t y o u t o d e s c rib e
to me the dif f e re n t s h a d in g o f lig h t
as you perceiv e it a s e a c h la y e r o f
bandaqe come s o f f .

.'AI{ET
( softly)
A 11 riqht.

32. Different angle prof,ile shot ,Janet We see the doctor's

bo d y from the neck dow n , t h e s c is s o rs n o w h e ld in f ro n t o f
n1 m .

DOCTOR
Now if you make any movement or if
you start ge t t in g e mo t io n a l o n u s ,
Miss Tyler, I ' rT r g o in g t o h a v e t o
have the nur s e s h o ld y o u d o wn a n d
have the ane s t h e t is t put you under
sedation. Is t h a t u n d e rs t o o d ?

.,}}IET
( falteringly )
T nr r r m i qa T r .z an I I

DOCTOR
A ll right the n .
 !1r

T h e sci sso rs co me o ut in fr ont of him and move towar d the

c a me ra . F ro m !!.1 " a ngle they ar e dispr opor tionater y r ar ge
a n d a l mo st fi l l th e scr een. W e see them per for m som e m ov em ent
a n d th e b a n d a g e s sta r t to m ove in sections acr oss the sc r een
a s i f b e i n g u n w o u n d fr om a head.

DOCTOR( CONT' D)
D o yo u se e any light now, M iss Tyler ?

.'A}IET
.T u st a ]i ttIe. It looks...it looks
ylaJ.
^e^\/

D@TOR
A ll right n o w, ju s t b e v e ry q u ie t .

Ag ain bandage swirls a c ro s s the s c re e n and then stops.

D@rO R (CO NT ' D)

Now, Miss T v 1 e r?

,TAI{ET
Much brighte r. V e ry b rig h t .

D@TOR
Look up tow a rd t h e lig h t .

CUT T O :
33. Angle shot looking up toward right A diffuse sun as seen
th r ough layers of ban d a g e .

3{. Reverse angJ,e ov€r t}re doctor's shoulder looking down

toward iranet'e faee As once again he starts to unwrap bandage.

DO CT O R (CO NT ' D)
How about no w, Mis s T y le r?

TAIET
It's bright. It's v e ry b rig h t .

DOCTOR
Good.
(he con t in u e s t o u n wra p
then st o p s )
f'm at the la s t la y e r n o w, Mis s T y le r.

Janet's face goes up.

TANET
f can...I c a n ju s t d is t in g u is h your
outl-ine. Ju s t v a g u e ly . . . b u t I can

DOCTOR
Now I'm going ' t o re mo v e t h e la s t
bandage, Mis s T y 1 e r. No w d o y o u wa n t
a mirror?
 Th ere's a silence.

JAI{ET
No. No, than k y o u . No mirro r.

Again she l-ooks up as if t ry in g to scan the faces of the

o thers in the room.

35 . P an shot past ttre f a c e s O f t h e a n e s t h e t is t , a n d t wo n u r s e s

in the shadows as the y wa t c h mo t io n le s s ly a n d ie n s e ly .
35. Different angle dlanet As seen from the back of her head.
The doctor once again re a c h e s f o r t h e la s t of the bandages.

DOCTOR
Now I'm goi n g t o re mo v e t h e la s t
bandage, Mis s T y le r. A n d f wa n t y o u
to remember t h is p le a s e . Mis s T y le r?
A re you list e n in g ?

iIA}IE:t'
Y es, f'm lis t e n in g .

D@TOR
W e have done a ll we c o u l_ d . f f we
were success f u l - a ll we ll- a n d g o o d .
There are no p ro b le ms . f f , h o we v e r,
this final t re a t me n t h a s n o t a c h i-e v e d
the desired re s u lt s , k e e p in min d
that you can s t i1 l l_ iv e a 1 o n s a n d
fruitful lif e a mo n g p e o p le o f y o u r
own kind. A s s o o n a s we d is c o v e r
these result s , we ' 1 1 e it h e r re le a s e
you...or...

He pauses for a momen t .

37. Anottrer pan shot past the shadowy faces of the other
p e o ple in the rgom, w in d in g u p o n a s Ho r o F J A NE T ' S t h in ly
b a n daged face through wh ic h we c a n n o w s e e t h e o u t lin e of
h e r features, eyes, no s e , mo u t h , b u t n o d e f in it iv e p o rt ra it
o f a face.

.TA}IET
Doctor?

DOCTOR
Y es.

.TA}IET
If I'm stilI... if I ' m s t ill t e rrib lv
ugfy, is there a n y o t h e r a l_ t e rn a t iv e ?
Cou1d I. . . cou ld I b e p u t a wa y ?

DOCTOR
Under certain c i_ rc u ms t a n c e s , Mis s
Tyler...the S t a t e d o e s p ro v id e f o r
(MORE )
 !\J r

DOCTOR ( CONT'D)
extermination o f u n d e s ira b le s . T h e re
are many fa c t o rs t o b e c o n s id e re d ,
though, that b e a r o n t h e d e c is io n .
Under the c irc u ms t a n c e s , c o n s id e rin g
your age...y o u r g e n e ra l p h y s ic a l
condition...f d o u b t v e ry mu c h if we
could permit a n y t h in g b u t y o u r
transfer to a c o mmu n a l g ro u p o f p e o p le
with your. . . y o u r d is a b ilit y .

JA}IET
Y ou'11- make me q o t h e n ?

DOCTOR
That will p ro b a b ly b e t h e c a s e . A 1 1
right, Miss T y 1 e r. Re ma in v e ry q u ie t
please. K eep y o u r e y e s o p e n .

38. Different angle from behind ttre doctor As he reaches

for ward and starts to u n win d t h e l-a s t b a n d a g e . T h e f irs t
str i p of bandage come s o f f t h e t o p o f h e r f o re h e a d , a n o t h e r
'l :rrar ' i nr r 'l = i rr q {.
r o\ r o: ' l har fnroho-eA
- -* -..-.r.\.ry dr n. rnl (t J- lL. rlar E
rl .ra!€I UnCOVef I n . . ., r
th e upper part of her e y e b ro ws a n d e y e s .

DOCTOR ( CONT'D)
A II right, Mis s T y 1 e r. No w h e re c o me s
the last of it . I wis h v o u e v e rv
good luckl

Again he reaches over a n d s t a rt s f -o u n win d a s we

CUT T O :

39. Shadowy faces of ttre other people in ttre room

The re's a moment's abs o lu t e s ile n c e , t h e n o n e o f t h e n u rse s

i ets out a gasp. A noth e r in v o lu n t a rily t h ro ws a h a n d a n c r a r m
acr oss her face to blo t o u t wh a t is o b v io u s lv a n in c re d ib le
q rra n i - r nl o
!I/vv

40. FJ.ash close shot doctor's hand As he drops the scissors

an d they land on the f lo o r. He t h e n s t e p s b a c k in t o t h e
sh a dows to stand cl-ose t o t h e o t h e rs .

DOCTOR'S VOICE
No chanse ! No c h a n s e a t a ll I

{1. Closeup .fanet S he ra is e s h e r h e a d . I f s h e is n o t

sta rtlingly beautifulr w€ h a v e mis s e d o u r p o in t e n t ire ly .

42. Different angle from behind Janet

As she slowly rises. He r h a n d s c o me u p f ro m h e r s id e t o t o u c h

h e r face, then remain t h e re a s h e r h e a d b e n d s o v e r a n d s h e
b u r ies her face in he r h a n d s . f n t h e s ile n c e we h e a r o n e
r asping sob that is fin a lly a n d p a in f u lly c o n t ro ile d . Then
she l-ooks up, scanning t h e f a c e s t h a t c o n f ro n t h e r, t h e n
suddenry she breaks a wa y a n d ra c e s t o wa rd t h e d o o r. T h e d o c t o r
hu rriedly and expertry s t e p s in f ro n t o f h e r wa y a n d g rab s
he r.

DOCTOR
(curtly to t h e o t h e r ma n in t h e ro o m)
Needle, plea s e . f wa s a f ra id of t h is .
(then t . o t h e n u rs e )
Turn on the liq h t s I

The shadowy form of th e n u rs e mo v e s o v e r to the lig h t switch.

43. Close shot her hand As she turns on the switch.

44.-41. Abrupt flash closeups of ttre two nurses, ttre
anesthetist, and ttren ttre doctor Each face is more grotesque
th an the other. Noses , e y e s , mo u t h s , e a rs , e v e ry t h in g ' , armost
a s if they were cartoo n s ; a rmo s t a s if t h e v we re c a ric a t u r e
d r awings come to life.

{8. !d€d. close shot ttre anesttretist A syringe in his hand,

a s he walks slowly towa rd t h e s t ru g g rin g g irr wh o s e f a c e i s
bu r ied against the doc t o r. He h o rd s u p t h e n e e d re a n d a t
th is moment Janet bre a k s f re e , o p e n s t h e d o o r wild I y and
r aces out into the co rrid o r.

49. Long shot as she races down the corridor past amazed
nu r ses and doctors, e a c h o f wh o m h a s t h e s a me o d d u q lrn e ss
of those we have alread y s e e n .

50. close shot door of ilanet's room As the doctor barses

nrrt-

DOCTOR ( CONT'D)
( shouts )
S top that pa t ie n t l S t o p h e rl

51. -53. series of shots of .Tanet As she races down emprv

cor ridors.

54. close shot elevator operator He opens the doors to the

e le vator just as.lanet p a s s e s . He , lik e a l1 t h e o t h e rs , is a
ca r toon-Iooking charac t e r.

55. close shot doctor coming out of operating room, removing

his mask just as,lanet ru n s b v h im. His f a c e is ] ik e t h a t o i
th e elevator operator.

( The forlowing covers , -T a n e t ' s ru n n in g t h ro u g h the c o rrid o r . )

I.EJADER'S VOrCE
T q- ar l l- z- ' r r nr r T ar " f
_ rv u innr
row.' ...1
say E ,o
- you now
that there is n o s u c h t h in q a s a
permissive s o c ie t y , because such a
society can n o t e x is t I
/MADtr \
\ rrv . \ ! . i
 -L9.

t t A DE R' S V O rCE (CO NT ' D)

They will sc re a m a t y o u a n d ra n t a n d
rave and con ju re u p s o me d e a d a n d
decadent pic t u re o f a n a n c ie n t t ime
when they sa id t h a t a ll me n a re
created equa i I B u t t o t h e m e q u a lit y
was an equalit y o f o p p o rt u n it y , an
equality of s t a t u s , 3 rI e q u a lit y of
aspiration! A n d t h e n , in wh a t mu s t
surely be the p in n a c le o f in s a n it y ,
the absolute in j-n c o n s is t e n c y , they
would have h a d u s b e lie v e t h a t t h is
equality did n o t a p p ly t o f o rm, t o
creed. They p e rmit t e d a p o ly g lo t ,
accident-bred , mo n g re l-lik e ma s s o f
diversification t o b la n k e t t h e e a rt h ,
to infiltrate a n d we a k e n !
(now he s h rie k s )
Wel-l-, w€ know now that there must be
a single purp o s e l A s in g le n o rml A
single appro a c h I A s in g le e n t it y of
peoplesl A s in g le v irt u e l A s in g le
morali-ty ! A s in g le f ra me o f re f e re n c e !
A single philo s o p h y o f g o v e rn me n t !
(shriekin g a g a in )
we cannot pe rmit . . . we mu s t n o t p e rmit
the encroach in g s e n t imE n E E lit y of a
past age Lo we a k e n o u r re s o lv e . We
must cut out a li t h a t is d if f e re n t
like a cancero u s q ro wt h !

56. Running shot ,.Tanet As she races down the corridor.

57.-59. Dif,ferent angles television screens As she runs by

the m. E ach with a differe n t a n g le o f t h e f a c e o f t h e L e a d e r
a s he continues to spe a k , h is v o ic e d ro n in g , u n in t e llig ib le ,
hr r f
vuL n c rs i
vE!oro anf
s fugrrL -n ^
o.ll\r ^ -^ ,..r,.-' r' :\/
\J!a\-(LraJ-Iw fLq^rrlv
:ki no on
vrr a
e bui l d of exci temen t .

60. Different angrle Janet As she stops in the middle of an

e m pty hal} and looks l-e f t , rig h t , in f ro n t and then back.

CUT T O :

51.-63. Interspersed ehots of the teLevision screen

As each shot shows it in la rg e r a n d la rg e r p e rs p e c t iv e . The

fa ce of the Leader is in c re c iib ly u g ly a s it s h o u t s d o wn a t
her.

5{. Zoom in to cloee shot 'Janet's back As her hands go to

the sides of her head, a s if t rv in q t o s h u t o u t t h e n o is e s .

65. Long angle shot looking down As she races down the Iast
co r r idor and turns a c o rn e r t h e n s t o p s d e a d . WHI P P A N UP T O
G IANT TE LE V TS ION S CREE N. T h e L e a d e r' s f a c e f ills it u p
anf i ral rz q-ra=mi nn r=n{-
LAIt
i
LrIr9tnrr a^nf nrf
UUITLvILJIIV. i nr-r
vlrLa!sJyr JU!gA,lttIlrg I
 LJ.

66 . crose shot rranet's h a n d A s s h e in s t in c t iv e ry re a c h e s for

an ashtray near a ben c h wh ic h is a q a in s t o n e wa L l.

67 . DIFFEREITT A}IGI"E

As she picks ic up and f iin g s it a c ro s s the c o rrid o r.

68. Extrenely tight close shot television screen The ashtray

hits the face of the L e a d e r h e a d o n a n d s p lin t e rs the set,
a n d from the broken, s mo k in g re mn a n t o f t h e ma c h in e r w€ h e a r
the voice of the Leade r.

LEADER'S VOICE ( CONT'D)

It is essent ia l in t h is s o c ie t y t h a t
we not only h a v e a n o rm, b u t t h a t we
conform to t h a t n o rm. Di-f f e re n c e s
weaken us. V a ria t io n s d e s t ro y u s . A n
incredible p e rmis s iv e n e s s t o d e v ia t io n
from this norm is what has ended
nations and b ro u g h t t h e m t o t h e ir
knees. Conformit y we mu s t wo rs h ip
and hold sac re d . Co n f o rmit v is t h e
key to surviv a l.
Tr lhr E
o rvv!vs
rni na n a r ^ .:L > L :)^ !^
vs!D- d .> wEi

CUT T O :

69. Different angle Janet As she races down the corridor

pa st the screen.

70. CLoee shot double doors Unlab1ed, ds Janet runs in and

sm ashes throuqh them.

7L. IITT. ROOL{MED. SEOT

Ja n et bursts in and rec o ils in s h o c k a n d h o rro r a t s o me t h i n g

she sees o.s. S he shrie k s a n d s lid e s s lo wly d o wn t o t h e g r o u n d
in a huddled heap and begins to cry. The CAMERAMOVESDOWN.
Th e legs and feet of w h a t e v e r mo n s t ro s it y s h e h a s s e e n mo v e
i nto f.g. Janet is ter rif ie d . T h e n t h e d o c t o r e n t e rs f ro m
an o ther direction and b e n d s d o wn t o h e r s o o t h in q lv .

DOCTOR
Don't be afr a id , Mis s T y le r. T h is is
a representativ e o f t h e g ro u p y o u ' re
to l-j-ve with . O d d ly e n o u g h , y o u ' v e
come right to him. Come on now - he
won't hurt vo u .

He lifts the terrified q irl to her feet.

72. eLOSEUP .,IAI.IET

Fo r ces herself to look at the n e wc o me r, h e r face f u ll of

r e vulsion.
 z .w .

? 3 . E \rII shot Walter S mit h s t e p s in t o t h e lig h t . we s e e a

yo u thful, tremendously a t t ra c t iv e y o u n g ma n , d re s s e d p la in l y
'i n .si mnl e I rousers an d S h irt .

DO CT O R (CO NT ' D)
Thj-s is Mr. S mit h , J a n e t . V la l-t e r
S mith. He's in c h a rg e o f t h e v illa g e
group in the n o rt h . He ' 1 1 t a k e y o u
there tonig'ht . Y o u c a n liv e a mo n g
your own kind n o w.

74. Different angle Smith As he walks over to Janet. We're

l oo king across her bac k a n d u p in t o S mit h ' s f a c e . I n a d d i t i o n
to being attractive, it ' s a g e n t le f a c e , a c o mp a s s io n a t e
fa ce, drl infinitely k in d f a c e . He s mile s , h is v o ic e is g en t l e
a n d soft.

SMTTE
Miss Tvler?

The oi rl 's he2d iS raiS e d .

s&frrE (coNT'D)
W e have a lo v e ly v illa g e a n d wo n d e rf u l
people. I th in k y o u ' 1 I lik e it wh e re
I'm going to t a k e y o u . Y o u ' 1 1 b e
with your own k in d , a n d a f t e r a lit t I e
while - you' d b e a ma z e d h o w lit t le a
while - you' ll f e e l- a s e f rS o f g re a t
belonging. You'11 feel a sense of
being loved. A n d y o u will b e lo v e d ,
Miss Tvler.

Th e girl remains motio n le s s n o w. S mit h lo o k s up and gestures

w i th his head.

75. Different angle tlre room As the doctor leaves and shuts
th e door behind him.

76. CLOSE SSOT SMIrE

S MT T E (CO NT ' D)
Miss Tyler? Wo u ld y o u g e t y o u r t h in g s
now? W e can le a v e a n v t ime .

The CAI.{ERASTARTS A VERY, VERY SI.OWARC until fiNAlly it i.S

sh o oting ciirectly into t h e f a c e o f J a n e t T y ie r. S h e ' s l-ik e a
be a utiful living portra it . A f a c e c a rv e d in t o t h e mo ld o f
a ll things woman. Gent I e , b e a u t if u l, f e min in e , and young.

JTANET
Mr. S mith?

SMTTE
Y es ?
 ,.TENET
Wh y...w h y ar e some of us bor n so
r*Y:J
r a' l r z?.

SMTTE
(smil-es s a d ly )
I don't kno w, Mis s T y le r. I re a lly
don't know.
(a paus e )
B ut do you k n o w s o me t h in g ? It doesn't
really matte r. T h e re ' s a n o ld
saY ing. . . a \ , ' e ry , v e ry o ] d s a Y in g .
B eauty is in t h e e y e o f t h e b e h o ld e r.
When we leav e h e re . . . wh e n we g o t o
the village.. . k e e p t h a t in min d .
Try, Miss T y le r. S a y it o v e r a n d
over in you r min d . B e a u t y is in t h e
eye of the b e h o ld e r.
(i^rl::^?" he takes
119! I.tC.rtLr /

Come orr, now. We ' I I get y o u . r t h in g s

and we'11 le a v e .

Th e two of them walk t o t h e d o u b le d o o rs . He o p e n s t h e m f o r

h e r and they walk out in t o t h e c o rrid o r, a v a s t e mp t y
p a ssageway that stretc h e s o u t a lmo s t t o in f in it y . T h e CA M E R A
REMAINS STATIONARYas they walk away from it down the
n a rri r lnr
+V V ! .

SERLING'S VOTCE
Now the que s t io n s t h a t c o me t o min d :
W here is this p la c e a n d wh e n is it ?
What kj-nd of world, wher6-T[liness
is the norm a n d b e a u t y t h e d e v ia t io n
from that n o rm? Y o u wa n t a n a n s we r?
The answer is . . . it d o e s n ' t ma k e a n y
difference. B e c a u s e t h e o ld s a y in g
happens to b e t ru e . B e a u t y j-s in t h e
eye of the b e h o ld e r. I n t h is y e a r o r
a hundred y e a rs h e n c e .
(a paus e )
On this plan e t . . . o r wh e re v e r t h e re
is human lif e , p e rh a p s o u t a mo n g s t
the stars.
(a paus e )
B eauty is in t h e e y e o f t h e b e h o ld e r.
Lesson to be le a rn e d . . . in T h e T wiliq h t
Zone.

FADE TO BLACK,